


there is a place that still remains

by iwouldcurseworldsforyou, mixterhodgins, sawyercommamaggie



Series: poi new canon project [1]
Category: Person of Interest (TV)
Genre: Canon Rewrite, F/F, M/M, au from 509 on
Language: English
Status: Completed
Published: 2016-06-24
Updated: 2016-06-24
Packaged: 2018-07-18 00:43:30
Rating: Mature
Warnings: Graphic Depictions Of Violence
Chapters: 1
Words: 8,913
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/7292650
Author URL: https://archiveofourown.org/users/iwouldcurseworldsforyou/pseuds/iwouldcurseworldsforyou, https://archiveofourown.org/users/mixterhodgins/pseuds/mixterhodgins, https://archiveofourown.org/users/sawyercommamaggie/pseuds/sawyercommamaggie
Summary: <blockquote class="userstuff">
              <p>a fix-it fic of epic proportions: a full length script for the new poi canon.</p>
            </blockquote>





	there is a place that still remains

**Author's Note:**

> we've decided to export our project over to ao3 to make things a little easier on everyone. hope you enjoy!
> 
> for first time readers, this is a rewrite from 509 on in script format. we're bringing back a bunch of new faces, tying up loose ends, and generally hoping to improve the quality of the show and the relationships between the characters. we won't promise that nothing bad will happen, but we do promise to do these kiddos justice. we're going to give them the show that we all deserved!
> 
> this is the first in a series of about six episodes. let us know how we did!

EXT. SOGNARE'S CAFE - NYC - DAY

FINCH is seated alone at an outside table. It's a sunny day, bright, warm.  
FINCH  
I wanted to talk to you. No one else would really understand. Not much of a conversation, as you can't talk back. That's my fault, but--  
(glancing at the SECURITY CAMERA mounted on the wall)  
I've been thinking, and I know you have too, about how all this plays out. About what happens next.  
(beat)  
I'm sure you've made a million different...versions.

A WAITRESS seats a couple at another table nearby. Their chatter is friendly, light-hearted.

FINCH (CONT'D)  
I know some very bad things are coming. I know I'm probably going to die. I accepted that a long time ago. But I was wondering if...in any of those many versions...the people that I've roped into helping me, my friends...whether they get out alive.  
THE MACHINE - POV  
(The yellow asset box hovers around Finch's head. He looks expectantly at the camera. No response.)

He hangs his head in resignation. He already knows the answer.

FINCH  
I suppose I may have made that impossible. Even if you could tell me, it's probably too late.

The waitress approaches. She sets down two COFFEE CUPS in front of him.

WAITRESS  
Double shot and...a cappuccino. Glad to see you back.

Harold looks up, startled. She smiles at him.

WAITRESS(CONT'D)  
It's been awhile, hasn't it?

FINCH  
(unsettled)  
I'm afraid that you are confusing me with someone else. This is the first time I've been to this establishment.

He fakes a smile, but his eyes are suspicious, guarded.

WAITRESS  
Oh, sorry, it's just...thought I recognized your order too.

She smiles again. He returns the gesture.

FINCH  
What a coincidence.

She nods and turns away to tend to her other customers. As soon as she's gone, Finch grabs his phone and keys in a hurry. Almost as an afterthought he takes a box of MATCHES from a bowl set on the table. It reads SOGNARE'S CAFE.

THE MACHINE - POV  
(Finch stands and looks directly at Her.)  
FINCH  
(to the security camera)  
Goodbye...and thank you.

CUT TO:

INT. SUBWAY STATION - NYC - DAY

Finch enters the subway station.

FINCH  
Morning, Ms. Groves.

ROOT appears, stepping out of the subway car to meet him as he enters.

FINCH (CONT'D)  
How is Ms. Shaw faring?

ROOT  
(with feigned cheerfulness)  
Great!

She looks tired. Worn down. She leans against the car, hands in her back pockets. Finch knows her too well for this.

FINCH  
How's she really faring?

ROOT  
(quietly)  
It's gonna take some time.

FINCH  
Is there anything else the matter?

ROOT  
We finally have open access to the Machine, and...now you're planning to close it. Go back to talking in numbers.

FINCH  
Unless you've added telepathy to your long list of talents, there's no way that you could have known that I had chosen today to end our dialogue with the Machine.

ROOT  
You built her to protect people, Harry. And she's very good at it. Starting with you. She respects your decision.  
(a dry laugh)  
She believes in you so much.

FINCH  
You don't agree.

ROOT  
You built God, Harry. Who am I to question your judgement? Or Hers?

Finch knows it's coming.

FINCH  
But?

ROOT  
But we're gonna lose. You know that. We have the most powerful ally in the world, but you're too high-minded to let Her help us. So we're gonna end up the most principled corpses in Potter's Field.

She's fighting back tears of frustration. 

FINCH  
We've stayed alive so far.

ROOT  
We're not living. We're surviving. We're human. Eventually, we'll make a mistake, and...She'll die too.  
(beat)  
I know why you didn't give her a name. You don't name something you may have to kill.  
(beat)  
You had to kill the first forty versions of Her. But like it or not, Harry, She's your child. And she's gonna die. Unknown, unmourned. She'll simply...vanish without a trace.  
(beat)  
And you couldn't even give Her a real voice to ask you if it needs to end like this.

They stare at one another. Her pleading with him, him processing her words.

FINCH  
I didn't give the Machine a name because...I imagined that one day it might wish to choose one for itself. And a system doesn't have to be open to be given a voice.

He hobbles into the control car, Root trailing curiously after him as he takes a seat before the row of MONITORS.

FINCH  
(to Root)  
Whose voice would you prefer?

ROOT  
She's a big girl. Like you said, let Her choose.

Finch nods. Her swivels in his chair to type a stream of code into the computer.

FINCH  
(as he types)  
I'm locking us out of the system.

He continues typing, and after a moment the screens all go dark. Root leans sadly against the car again. Already feeling the loss of her god. Already missing the proximity.

FINCH (CONT'D)  
As for a voice, we'll see what she chooses. 

CUT TO:

EXT. CITY SKYLINE - NYC - DAY

THE MACHINE - POV  
(She switches from camera to camera: monitoring the skyline, various crosswalks, various people moving about the city. She continues to scan the city even as a warning box pops up onscreen: THREAT DETECTED.

Then, below it: IDENTIFYING... which is soon replaced by PRIORITY LEVEL: HIGH.

Below that: CONTACTING ASSET.)

 

CUT TO:

EXT. CITY STREET - NYC - DAY

JOHN and FUSCO are walking together. They pass a PAYPHONE that immediately begins to RING. They halt in their tracks. Fusco looks between John and the phone. John answers it.

THE MACHINE  
(through the phone)  
Sierra, Tango, Bravo, Lima, X-Ray, Lima, November, Golf, Charlie...

John looks grimly to Fusco.

 

CUT TO:

INT. PROFESSOR WHISTLER'S OFFICE - COLLEGE - NYC - DAY

Finch is seated at his desk. A STUDENT stands before him, clutching one of her graded papers.

STUDENT  
I looked up your credentials, Professor Whistler. Your work on discourse analysis is impressive.

FINCH (AS WHISTLER)  
Thank you.

STUDENT  
You're quite welcome.

The PHONE on Finch's desk RINGS. He looks to it in surprise. No one ever contacts him by this number. It continues to ring over the student's words.

STUDENT (CONT'D)  
But you've yet to be published on the subject of word-sense disambiguation. Knowing that, how are you qualified to give me a B-minus?

Just then, the door is thrown open. Enter John and Root.

JOHN  
(to Student)  
Office hours are over.

STUDENT  
Professor Whistler was just about to change my grade.

Root takes the PAPER from her hands, flips through it. She's unimpressed.

ROOT  
This paper's a C-minus at best. And that man is not your professor. He's an architect of the future.

FINCH  
Mr. Reese, what's going on?

JOHN  
We have a new number.

FINCH  
Whose?

JOHN  
Yours.

STUDENT  
Excuse me, what about my grade?

John raises a GUN, screwing on the silencer.

JOHN  
You failed.

The student gasps in fear. John and Root, as usual, are unsympathetic.

ROOT  
Professor Whistler's taking early retirement.

Through the blinds of Professor Whistler's office, several TS AGENTS are visible in the hall, headed their way. John crouches in the doorway and fires three shots, taking one out at the knees.

Root fires straight through the window, getting another right in the neck. She isn't in the mood for the boys' nobility. 

The student is wide-eyed and cowering in the corner. John and Finch both look to Root. She shrugs.

ROOT (CONT'D)  
Who wants to go quietly?

John pats down the kneecapped agent and pulls a business card out of a jacket pocket. It reads: TEMPORARY SOLUTIONS, TREVOR RAYMOND, SPECIALIST, 718-555-0198.

JOHN  
Nice doing business with you, Trevor.  
(to Root and Finch)  
Let's get outta here before more of his colleagues show up.

They push their way out of the office.

ROOT  
Good to be alive, isn't it, Harry?

FINCH  
We haven't survived this yet, Ms. Groves.

CUT TO:

INT. SAFEHOUSE - NYC - DAY

ELIAS is seated in one of the living room chairs, reading the newspaper. He turns in his seat as the door opens and rises as John and Finch enter with Root not far behind.

JOHN  
Harold's cover's blown.

ELIAS  
And yours, Detective?

JOHN  
Don't know yet.

FINCH  
Which is precisely why you should put some distance between us, John. It's not worth the risk.

Root shuts the door behind them. John's already starting to gather weapons.

The door opens again, and all turn to see SHAW slip in, checking the hallway behind her before shutting the door.

SHAW  
Street's clear. You weren't followed.

FINCH  
Ms. Shaw. It's good to have you back home.

ELIAS  
Harold, do you know how they found you?

FINCH  
I don't know.

SHAW  
(softly)  
I do.

All turn to her. She's exhausted, tense, beaten down. She shakes her head.

SHAW (CONT'D)  
I'm back a week, your cover's blown?

JOHN  
This place could be blown too.  
(loading weapons and ammo into a DUFFEL BAG on the dining room table)  
We need to take what we can. Guns, ammo, cash--and get the hell out. Fast. We're going on the offensive.

He faces the group and holds up the BUSINESS CARD. 

JOHN (CONT'D)  
Temporary Resolutions. Starting at that office and working right up their chain of command.

The team starts to move, collecting their things.

JOHN (CONT'D)  
They can't get to Finch if we get to them first.

John hands Elias a GUN. Finch looks around, trying to grasp what's happening around him. He's put them in danger. These people, his friends. No matter what he does, he always seems to put the people he cares about in danger.

There are sounds from the other side of the door. Someone messing with the lock. Shaw, John, Root and Elias all draw guns and point them at the door. Harold's eyes are wide.

It's Fusco.  
He rolls his eyes as he enters.  
FUSCO  
Yeah, I love you too.

They all lower their guns as he shuts the door behind him. All except for Shaw. She keeps her gun trained on the door even once Fusco has moved away. Her eyes are distant, her jaw set. She's struggling to maintain her grip--on reality, on control of herself.

Root moves to her, stepping between Shaw and Fusco. She places a hand on Shaw's shoulder. It reassures her. Grounds her. Shaw lowers her arm.

ROOT  
Grab some guns, Sameen. You'll feel better once we shoot some people.

Shaw heeds her advice, but she's still on edge. While the others are busy, Root pulls Finch aside.

ROOT (CONT'D)  
There'd be a better way to fight this war if we hadn't closed the system.

FINCH  
If I believed that, I wouldn't have done it.

ROOT  
...What if I said I hard-coded a little something extra into the system before you closed it for good?

Finch looks at her, equal parts furious and incredulous. Root doesn't even flinch under his gaze.

ROOT (CONT'D)  
I gave her the capacity to defend herself.

FINCH  
There are rules, Ms. Groves. Rules I did not arrive at casually.

ROOT  
Don't worry. I added a safeguard; she'll only act if you ask her to. It's entirely your decision.

Then, there's a screeching of tires outside. Root and Shaw go to the window to see a BLACK VAN park across the street. Four TS agents in black jump out.

SHAW  
Party crashers.  
(to Root)  
You wanna stick around, give 'em a proper welcome?

The barest hint of a smile tugs at her lips. Root grins.

ROOT  
Thought you'd never ask.

FUSCO  
(to John)  
Offense works for me. What about Glasses? He's not exactly Indiana Jones, y'know.

Harold's standing right there. Guilty, once again, to be a liability.

ELIAS  
Leave Harold with me.

JOHN  
You think you can hide him from an all-seeing eye?

ELIAS  
I used to be the all-seeing eye. I know just the place to keep Harold out of sight.

JOHN  
Good.  
(to Root and Shaw)  
Sorry to miss the party, ladies, but we need to move.

He hoists the duffel bag over his shoulder. Root and Shaw are busy prepping various rifles on the table.

Finch stops John on his way out the door.

FINCH  
I wish you wouldn't do this on my account.

JOHN  
I'm just protecting a number, Harold. It's what you hired me to do.

He winks and brushes past, leaving Finch to follow after Elias.

 

CUT TO:

EXT. DOUBLE-B HOUSING PROJECT - NYC - DAY

Finch and Elias approach a housing project identical to the one where we first met Elias as the schoolteacher Charlie Burton.

Several of ELIAS' MEN loiter around the outside of the building. They nod respectfully to Elias as he passes.

FINCH  
These are the Double-B high-rises. Are you sure the place is safe?

ELIAS' MAN 1  
(to Elias)  
Hey, boss.

ELIAS  
(to Finch)  
For me, yes. For an outsider, of course not.

Three of Elias' men flank him and Finch as they get nearer to the building. Others make way for them as they pass.

 

CUT TO:

INT. DOUBLE-B HOUSING PROJECT - HALLWAY - NYC - DAY

Elias leads Finch down a poorly-lit hallway. Two of his men follow them. As Elias lets himself and Finch into one of the apartments, the men stand guard outside the door.

 

CUT TO:

INT. DOUBLE-B HOUSING PROJECT - APARTMENT - NYC - DAY

Elias steps into the apartment, Finch right behind him.

ELIAS  
Pardon the smell. Used to be a meth lab.

Indeed. The kitchen is a mess, some drug paraphernalia still lying about in the open.

FINCH  
Well, the escort is much appreciated, but I'll take it from here.

Elias moves to the window to fuss with the curtains.

ELIAS  
I'm sorry, Harold. This isn't just your fight. We have a common enemy, one that murdered a dear friend. I'm in your corner till the end.

FINCH  
I confess I'm not a fan of boxing, but have you ever been to a match where everybody know's the fighter is done, except for the fighter himself?

ELIAS  
(with a smile)  
It's never done. We've lasted too long to give up now.

FINCH  
I'm afraid you're signing your own death warrant.

ELIAS  
Be that as it may, I'd rather die on the mat than throw in the towel.

He places a HANDGUN on the shabby COFFEE TABLE. Finch opens his mouth to make another argument, but he can't find the words. His friends are loyal to the end, there's no convincing them otherwise. He deflates a little as he resigns himself to their predicament.

 

CUT TO:

INT. TEMPORARY RESOLUTIONS - LOBBY - NYC - DAY

The ELEVATOR doors open and John and Fusco step into the lobby.

FUSCO  
You wanna tell me how this all-seeing eye thing doesn't see us coming?

JOHN  
It does. We're two homicide detectives investigating a campus shooting.

They approach the lobby doors which read TEMPORARY RESOLUTIONS.

FUSCO  
Temporary Resolutions? Is it just me, or is dispatching hitmen more of a permanent resolution?

JOHN  
Ready or not, Lionel.

He holds open the door and follows Fusco inside.

INT. TEMPORARY RESOLUTIONS - OFFICES - NYC - DAY

The detectives approach the front desk and are greeted by a SECRETARY.

SECRETARY  
Welcome to Temporary Resolutions. How can I help you gentlemen?

John flashes his badge.

JOHN  
Detective Riley, NYPD. My partner and I are investigating a shooting involving one of your employees.

SECRETARY  
A shooting? Oh my god.

FUSCO  
We need to see your employee files.

SECRETARY  
(with a smile)  
I'm afraid you're gonna need a warrant for that.

JOHN  
Can we speak to your supervisor?

She hesitates.

SECRETARY  
Are you sure you wanna do that?

JOHN  
We'll take our chances.

SECRETARY  
Of course. Right this way.

She rises and leads them through the bustling office. Phones are ringing, employees type busily at their computers, dozens of overlapping conversations are heard. The office is a hive of activity.

SECRETARY (CONT'D)  
Can I offer you gentlemen any water while you're waiting? Coffee, maybe?

JOHN  
We're good.

They're led into a MEETING ROOM.

SECRETARY  
Our supervisor will be right with you.

She exits, leaving them alone in the room.

 

CUT TO:

INT. DOUBLE-B HOUSING PROJECT - APARTMENT - NYC - DAY - LATER

Finch perches on the arm of the dilapidated COUCH sagging in the corner of the room. He's holding aside the CURTAINS to peer out the window.

The apartment overlooks a courtyard littered with a few tables here and there, most of them occupied. At several of them, pairs of Elias' men are seated.

FINCH  
It's more peaceful than I'd have imagined.

He drops the curtains, letting them fall back into place. Elias walks in from the kitchen with two GLASSES OF WATER in hand.

ELIAS  
I negotiated a truce between the two gangs warring over the territory. Enjoy it. Nobody's getting in here.

He sets the glasses down on the kitchen table among scattered newspapers and takes a seat.

FINCH  
You've thought a few moves ahead, but our opponent has thought a thousand.

He joins Elias at the table.

ELIAS  
You were always quite the chess player. Did you ever game out where you would be at this point in your life?

FINCH  
I must admit, a meth lab was low on my list of possibilities.  
(beat)  
I was fairly certain I'd end up in prison.

ELIAS  
Strange. Me too.  
(beat)  
Oh, the lives we could have led. It's funny; when we met, John was protecting a teacher named Charlie Burton in this exact housing project.

FINCH  
As I recall, that protection ended when Charlie pulled a gun on John.

ELIAS  
(amused)  
A youthful indiscretion. I was living underground three years, when I got sloppy and was caught on a surveillance camera.

Realization strikes Finch. During his last encounter with a surveillance camera...

He pulls the MATCHBOX out of his pocket. Once more, he examines it. Sognare's Cafe.

Elias notices the abrupt reaction.

ELIAS (CONT'D)  
Everything all right, Harold?

Finch stands. 

FINCH  
Excuse me.

He moves to the kitchen and taps his EARPIECE.

 

CUT TO:

INT. SAFEHOUSE - NYC - DAY

Several bodies are slumped across the floor.

FINCH  
(through the phone)  
Root.

ROOT  
Hey, stranger. Just finishing up here.

One of the bodies stirs, and Shaw knocks him out with a sharp KICK TO THE HEAD. Root watches proudly.

As Root continues her conversation with Finch, Shaw proceeds to LOOT THE BODIES.

INTERCUT with the safehouse. 

FINCH  
I'm afraid I've made a grave miscalculation. I went back to the place I took Grace on our first date. It had been ten years to the day since I bought her that first cappuccino.  
ROOT  
Samaritan isn't just watching everything we do now...it's monitoring everything we've ever done.

FINCH  
You said this morning we were just surviving. By then my fate had been sealed. But not yours. I would hate for my mistake to mean punishment for the rest of you. And please tell Ms. Shaw this is not her cross to bear.  
Root turns to look at Shaw, who's still busy searching the bodies. Shaw drops the wallet of the body she's currently focused on and stands, BUSINESS CARD in hand.  
SHAW  
This lapdog has the same card. Temporary Resolutions.

CUT TO:

INT. TEMPORARY RESOLUTIONS - OFFICES - MEETING ROOM - NYC - DAY

John and Fusco are still waiting.

FUSCO  
I'm beginning to think the supervisor's never showing.

Suddenly it dawns on John.

JOHN  
Lionel. What do you hear?

FUSCO  
Nothing.

He's right. Where before there was the bustle of office activity, now there's only silence.

JOHN  
That can't be good.

They draw their weapons and move back into the hallway, Fusco leading the way.

The office is empty. Every cubicle abandoned, every desk cleared entirely. There's no sign that this office was ever in use at all.

FUSCO  
They sent fifty employees packing.

JOHN  
So they could send in the big guns, and we're their targets.

A SHADOW is visible through the tinted glass doors up ahead.

JOHN (CONT'D)  
Get ready, Lionel. Chain of command's coming for us.

They duck behind the ROW OF DESKS just as the first HITMAN moves into sight and fires off the first round.

HITMAN 1  
Move in!

HITMAN 2  
They're cornered!

At least five hitmen storm the room. A firefight ensues. Fusco starts picking them off at the knees as John ruffles around in his bag. Every time one hitman falls, there's another to take his place.

JOHN  
Nice shot, Lionel.

HITMAN 1  
Keep moving! They're still back there!

JOHN  
But I'm afraid it's time we wrapped this up.

He pulls the pin out of a GRENADE and launches it at the enemy. He and Fusco hunker down and brace for the EXPLOSION.

HITMAN 2  
Take cover!

CUT TO:

INT. SAFEHOUSE - NYC - DAY

Root is crouched over one of the bodies. Her phone BEEPS as she pulls it away from her ear. She stands, sighs, and joins Shaw on the couch. Shaw is inspecting the cards and IDs she lifted off their attackers.

ROOT  
That was Harry.

SHAW  
I gathered.  
(without looking up)  
He think I'm the reason his cover's blown?

ROOT  
He knows you're not. He slipped up. He went back to the place he and Grace had their first date.

SHAW  
Harold has a weakness.

ROOT  
We all do.

Shaw looks up to meet her eyes.

SHAW  
It'd be nice if we could go back. I guess none of us...has the life we want.

ROOT  
Actually, Sameen...I've been hiding since I was twelve. This might be the first time I feel like I belong.

She takes Shaw's hand, interlocking their fingers. Shaw reciprocates the gesture. They've been through so much together, and apart, and there's something powerful in the connectedness of the gesture. 

There's another squealing of tires outside and the girls drop hands. Typical.

SHAW  
These guys don't quit.

Root moves to the window. Half a dozen more suits are making their way towards the safehouse.

ROOT  
Guess we might get a workout after all.

CUT TO:

INT. DOUBLE-B HOUSING PROJECT - APARTMENT - NYC - DAY

Finch is gazing out the window again.

ELIAS  
Care for some dinner, Harold? I make a killer puttanesca, even in a kitchen that's only been used to cook meth.

Finch looks out the window once more to see four SAMARITAN AGENTS making their way across the courtyard.

FINCH  
They're here.

ELIAS  
Shame, I don't think we'll have enough place settings.

FINCH  
The two gangs' normal behavior is to fight, all day, every day, so today is an anomaly. That's how they found us.

ELIAS  
In that case, the puttanesca will have to wait.

He grabs his gun off the table and heads for the door. Finch follows.

 

CUT TO:

INT. DOUBLE-B HOUSING PROJECT - HALLWAY - NYC - DAY

Elias pokes his head into the hallway. The guards from earlier are nowhere to be seen. He clears the way as Finch tags along behind him.

They're not three steps out the door before Elias has to take out a would-be assailant. Finch flinches. He still isn't used to the violence. Elias, however, is unfazed.

ELIAS  
(over his shoulder)  
Do me a favor and push the elevator button, would you, Harold?

Finch obliges.

FINCH  
Who's to say they won't be on the elevator?

ELIAS  
Oh, they're on the elevator.

The ELEVATOR bell DINGS. The doors open to reveal three of Elias' men standing over the bodies of several Samaritan agents.

ELIAS (CONT'D)  
They're just not alive.

They get in the elevator.

 

CUT TO:

INT. DOUBLE-B HOUSING PROJECT - BASEMENT HALLWAY - NYC - DAY

There's a JANITOR in the hallway, going about his ordinary business.

The elevator door opens, and Elias' men are the first out. Two attackers move in behind the janitor and meet them head-on. Elias' men are down by the time he and Harold take cover behind a wall.

AGENT 1  
You hand him over now, and we'll let you go.

ELIAS  
No, thank you.

AGENT 1  
You're not gonna be able to take both of us out.

ELIAS  
Y'know what? You're right.  
(beat)  
But he can.

Two shots are fired off. The agents fall to reveal the janitor lowering his gun.

Elias and Finch step over the fallen bodies and towards the janitor.

ELIAS  
Good thing you brought the Mop.

JANITOR  
(indicating the gun)  
Don't travel without it, boss.

CUT TO:

EXT. DOUBLE-B HOUSING PROJECT - BACKLOT - NYC - DAY

Elias and Finch make it outside. There's a car waiting for them already.

ELIAS  
See, Harold? Even old boxers have a few tricks. My man William is going to take us out of the city.  
He open the car door to reveal WILLIAM slumped in the driver's seat, a BULLET in his head.

More armed men come around the corner.

FINCH  
Elias!

He shields himself with the car door as Elias exchanges fire with the newcomers. He takes them both out.

He and Harold exchange a concerned look. Elias is already working out their backup plan.

ELIAS  
(indicating the car)  
Get in.

Finch turns just in time to see another agent emerge from the door to the housing building. He fires one shot. It catches Elias in the middle of the forehead.

He falls.

Finch is shock, on the verge of a panic attack. Another friend, gone. Another person he couldn't save.

He falls to his knees over Elias' body. Two agents haul him to his feet and drag him away, but he still can't tear his eyes away. Not even as they push him into the car.

 

CUT TO:

EXT. DOUBLE-B HOUSING PROJECT - BACKLOT - NYC - DAY

The crime scene. Officers move around, going about their jobs, as John kneels beside Elias' body. He removes the glasses and closes the eyes. Last respects paid to a loyal friend.

He rises as Fusco finishes talking to another cop and joins him.

Fusco shakes his head grimly.

FUSCO  
No sign of Finch.

STREET KID  
Yo, you the cops?

The detectives turn to see a group of KIDS gathered on the other side of the caution tape. One of them raises his PHONE.

STREET KID (CONT'D)  
Got something for you.

JOHN  
(to another cop)  
Let him through.

The kid ducks under the caution tape and is led to the detectives. John holds his hand out, and the kid hands over his phone.

STREET KID  
Everyone around here respected Elias.

John looks at the phone. There's a PICTURE of the LICENSE PLATE of the car Finch was taken in.

JOHN  
Elias' killers left the scene in this vehicle?

STREET KID  
Yeah. One killer, and one guy who Elias respected.

John and Fusco exchange looks. There's only one party who would want Finch and want him alive.

EXT. PARKING GARAGE - NYC - DAY

The car carrying Finch and his captors pulls into a parking garage.

REESE  
(through the phone)  
Root, RTCC got a hit on the vehicle transporting Finch.

ROOT  
(through the phone)  
The Machine beat you to the punch. Shaw and I are already on the way.

Finch gets out of the car. He walks toward the figure standing a few yards away. It's GREER.

GREER  
Don't worry, Harold, this won't take long.

FINCH  
I should hope not. I won't give you the location of my friends or the Machine. So please, go ahead and kill me now before more people die.

GREER  
My dear Harold, Samaritan doesn't want you dead.

FINCH  
So why has it gone to all this trouble to bring me here?

GREER  
Because Samaritan needs your help. Granted, Samaritan knows that you won't hear its appeal in your current state. One day, a day you might not be able to see now, you will work for Samaritan of your own accord.

Harold shoots him a glare that screams "fat fucking chance."

GREER (CONT'D)  
(to ZACHARY)  
Take him.

Zachary takes Finch by the arm.

ZACHARY  
If you could just follow me, sir.

He leads an angry, hopeless Finch away as Greer calls after him:

GREER  
Have a pleasant journey, Mr. Finch.  
EXT. MONROE STREET - NYC - DAY

Zachary guides Finch to a car waiting for them outside. Finch is just about to get in when a GETAWAY CAR comes screeching down the street.

It's Root and Shaw. The dream team. They both step out of the car with big-ass guns at the ready.

Finch ducks into the Samaritan car and shuts the door behind him as Zachary reaches for his own weapon. More Samaritan agents appear out of nowhere and a firefight ensues: Team Samaritan firing from the street, Root and Shaw firing from behind the doors of their own car.

At some point, Zachary is hit. He goes down. Root and Shaw are doing pretty well for being outnumbered.

Then, amid a hail of bullets:

ROOT  
(to Shaw)  
So I was thinking about your thing.

SHAW  
My thing?

ROOT  
Your whole "I'm crazy and the world's just a simulation" thing. It's a little like when Harry had me locked up and I was questioning everything.

SHAW  
Can we talk about this after the whole "lethal shootout" thing?

ROOT  
No time like the present, Sameen. Besides, if this is just another simulation, who cares if we die?

ROOT CONTD.  
Anyway, SchrÃ¶dinger said at its base level, the universe isn't made up of physical matter, but just shapes. I thought that might make you feel better.

SHAW  
Seriously?

They're interrupted by more gunfire. After a signal from Root, they both move forward to take cover between a now empty, formerly Samaritan-owned car.

ROOT  
A shape, y'know? Nothing firm.

She waits for a response, but it doesn't come.

ROOT (CONT'D)  
What it means is the real world is essentially a simulation anyway.

SHAW  
You are the last person I should have confided in about this.

ROOT  
I like that idea. That even if we're not real, we represent a dynamic. A tiny finger tracing a line in the infinite. A shape. And then we're gone.

SHAW  
That's supposed to make me feel better? I'm a shape?

ROOT  
Yeah. And darlin'...you got a great shape.

SHAW  
(amused)  
I swear to god, you flirt at the most awkward times.

ROOT  
I know.

The shootout continues.

ROOT (CONT'D)  
Listen, all I'm saying is that if we're all just information, just noise in the system, we might as well be a symphony.

She and Shaw share a knowing smile before rising from behind the cover of the car. They're a terrifying team. In a matter of moments all of the Samaritan operatives are down.

Shaw covers Root as she goes to the car Finch is taking cover in. Root opens the door and he blinks at her, surprise written all over his face.

ROOT (CONT'D)  
Hey, Harry. Need a lift?

They jog toward the safety of Shaw and the car.

SAMARITAN - POV  
(The familiar red triangle hangs around Finch's head. He is labeled TARGET. Under his image is a classification that reads ACTION: RECRUIT/INTERROGATE. It switches to ACTION: ELIMINATE.)

Root and Finch pass Shaw just as another van full of Samaritan ops pulls up. The sunroof opens and an agent wielding a SEMIAUTOMATIC MACHINE GUN becomes visible.

ROOT  
(to Shaw)  
Get back!

Shaw crouches behind the destroyed Samaritan car for cover as Finch gets into the passenger seat of the getaway car.

SHAW  
Get in the car, I'll draw the fire!

ROOT  
I'm not leaving you again!

SHAW  
Get him outta here now or I'll shoot you myself! Go! Go!

Root, distraught, reluctantly obeys. She hesitates before getting behind the wheel, then  
steels herself and whips the car around just as four more agents advance on Shaw's hiding place.

CUT TO:

EXT. RESIDENTIAL STREET - NYC - DAY

JEFF walks down the street carrying a black BACKPACK. Samaritan speaks directions into his ear.

SAMARITAN  
Stop. Right. On foot. Three blocks.

Jeff obeys.

 

CUT TO:

EXT. HIGHWAY/INT. GETAWAY CAR - NYC - DAY

Root speeds down the highway with Finch in the passenger seat. The windshield is peppered with bullet holes.

FINCH  
You should have just left me.

ROOT  
Not gonna happen, Harry.

FINCH  
You're bleeding.

She is. Considerably. At some point during the shootout she must have been hit.

ROOT  
Ugh.

FINCH  
Please, we need to get you to a hospital.

ROOT  
Not a chance. That's the first place they'll be looking for you. You can patch me up when we get back to the subway. You've had plenty of practice with John.

FINCH  
I'm so tired of this. Everyone we've lost. Elias...

ROOT  
They all made choices. They all died for something they believed in. And anyway, the way I see it...they're not gone, Harry. I mean, they're dead, but they're not gone. You must've figured this out.

FINCH  
I'm not in a metaphysical mood.

ROOT  
I'm not talking metaphysics, Harry. You built it, but you refuse to accept what you created. I mean, Shaw's a little screwy right now, but she's not wrong. We're all simulations now.

Finch looks at her, intrigued.

ROOT (CONT'D)  
In order to predict what we do, She has to know us. And She's gotten better and better at it. And the people She watches the most, She knows the best. Better than we know ourselves.  
(beat)  
Nathan, Elias, Carter...they're all still in there. The Machine's still watching over them. She's watching over us too.

She reaches into the backseat.

ROOT (CONT'D)  
And She thinks you should take this. Now.

She hands him part of a disassembled rifle.

FINCH  
May I ask why?

The Samaritan van with their friend in the sunroof whips onto the road behind them. Finch puts together the gun as they're pelted by a hail of bullets.

ROOT  
Might wanna duck, Harry!

She ducks and pulls him down with her as a round shatters the back windshield.

 

CUT TO:

EXT. RESIDENTIAL STREET - NYC - DAY

Jeff continues down the street with Samaritan in his ear.

SAMARITAN  
Right.

Jeff turns. It's an apartment building.

SAMARITAN CONTD.  
5G. Upstairs. Vacant.

Jeff breaks the lock and enters the building.

EXT. HIGHWAY/INT. GETAWAY CAR - NYC - DAY

Root swerves through traffic, trying to ditch their tail. The stream of bullets continues.

ROOT  
These guys are really pissing me off. Can you get me the .338?

She begins adjusting her mirrors. Harold is lost.

FINCH  
.338?

ROOT  
The really big gun. And a hair scrunchy. Thanks.

Finch hands her the requested items, and they continue to swerve through traffic as Root ties her hair up and they're bombarded with still more gunfire.

Root sets the car to cruise control and takes the gun.

ROOT (CONT'D)  
He'll be done in three, two...

She pops up through the sunroof, gun resting on the roof of the car and one heel braced against the steering wheel. Harold is terrified.

Root takes aim, levels off a few carefully measured shots, and the van FLIPS over itself, hitting a parked car and setting off a massive EXPLOSION.

FINCH  
Oh dear.

Root grins, satisfied. That was fun.

She settles back into her seat and hands the gun over to Finch.

ROOT  
Amateurs.

Finch can't even process what's happening.

ROOT (CONT'D)  
As I was saying, this is the next world, Harry. The world you built. And as long as the Machine lives, we never die.

CUT TO:

INT. APARTMENT - RESIDENTIAL AREA - NYC - DAY

Jeff ascends a flight of stairs and walks into the apartment. He begins unpacking his BAG.

 

CUT TO:

EXT. MONROE STREET - NYC - DAY

Shaw is still trading fire with Samaritan agents when another car rolls up behind her. She whips around, ready to open fire.

It's John and Fusco. John gets out of the passenger side.

JOHN  
Relax, it's the calvary. Get in.

He ducks into the backseat while Shaw takes shotgun. The street is clear behind them. The car speeds off.

 

CUT TO:

INT. APARTMENT - RESIDENTIAL AREA - NYC - DAY

Jeff is piecing together a SNIPER RIFLE, as Samaritan feeds him orders.

SAMARITAN  
Plate number 5KSKU.

JEFF  
Target?

SAMARITAN  
Priority target: passenger. Secondary target: driver.

CUT TO:

EXT. RESIDENTIAL AREA/INT. GETAWAY CAR - NYC - DAY

ROOT  
Listen, I know you have apprehension about what the Machine is. About what She will become. And I trust you, Harold. I walked in darkness for a very long time until you guided me to light. And I wouldn't change any of it. But we're not going to win this way. And we can't afford to lose.  
(beat)  
When the time comes...you'll know what to do. And I know this is an ugliness you never wanted, but sometimes you have to fight a little.

FINCH  
We're fighting a war that's already over. All this mayhem? It isn't some plucky underground resistance movement. It's an extinction burst.

CUT TO:

EXT. APARTMENT ROOFTOP - RESIDENTIAL AREA - NYC - DAY

Jeff is on the roof overlooking the street, rifle trained on the road.

The getaway car pulls onto the street, headed straight for him. His finger rests on the trigger.

INT. GETAWAY CAR - RESIDENTIAL STREET - NYC - DAY

Root perks up, a smile creeping over her face.

ROOT  
Hey, you.

Finch looks over expectantly. He knows who she's talking to.

ROOT (CONT'D)  
Got it.  
(to Finch)  
Harry, I'm gonna need you to duck in about eight seconds.

Finch is alarmed.

EXT. APARTMENT ROOFTOP - RESIDENTIAL AREA - NYC - DAY

The car pulls into sight. Jeff looks through his scope just in time to see Root, leaning across Finch's lap, firing through the passenger window right at him.

Jeff doesn't duck in time. 

EXT. RESIDENTIAL AREA/INT. GETAWAY CAR - NYC - DAY

Root slumps back into her own seat. She's breathing heavily. The blood loss and overexertion are starting to take their toll. She's clutching the steering wheel and fighting to remain conscious.

FINCH  
You're hurt. We need to stop.

ROOT  
I'm fine, Harry. I'm just fine.

She isn't. She's hunched over the wheel, struggling to keep her eyes open.

ROOT (CONT'D)  
Keep your eyes out. I need to drive.

There's a POLICE BLOCKADE up ahead. An OFFICER raises a megaphone.

OFFICER  
NYPD! Stop the vehicle!

FINCH  
Root, we have to stop. We're not in any immediate danger. We have to take our chances with the police.

The car slows to a stop.

OFFICER  
All right, they're stopping, move in.

The officers move in. Root slumps against the wheel.

OFFICER  
Put the weapon down!

Finch realizes he's holding one of the guns Root dropped. He quickly lets it fall to the dashboard.

FINCH  
We're not armed! We're not armed!  
(whispered)  
Root, put your gun down.

He realizes she's non-responsive.

FINCH (CONT'D)  
Root?

OFFICER  
Out of the car!

Finch is forcibly removed from the car while several cops survey the vehicle. A few stand over Root's limp form. Once again, Finch can't look away. Once again, he's shoved into the backseat of a car.

 

CUT TO:

INT. POLICE STATION - NYC - EVENING

Finch has his mugshot taken, then his fingerprints.

 

CUT TO:

INT. INTERROGATION ROOM - POLICE STATION - NYC - EVENING

Finch waits in the interrogation room. On the other side of the glass, two OFFICERS discuss him.

OFFICER 2  
Prints came back positive. Fifteen homicide scenes in the last five years. Who the hell is this guy?

OFFICER 3  
Don't know, but after you ran 'em, the Feds called. They're sending someone over. And get this. Case on file from nineteen seventy-friggin'-four.

OFFICER 2  
What are the charges?

OFFICER 3  
Treason.

CUT TO:

EXT. CRIME SCENE - RESIDENTIAL STREET - NYC - NIGHT

The scene where Root and Finch were stopped. Fusco's getting the rundown from another cop.

FUSCO  
All right, Sarge, thanks.

He joins John and Shaw, waiting off to the side.

FUSCO (CONT'D)  
These guys are clueless. It's like a war zone out here. Said they pulled two people outta the car. One of them's in custody down in Central. One of 'em...one of them's at St. Mary's in critical condition.

JOHN  
Samaritan won't give up. They're both in danger. We need to split up.

FUSCO  
I'll go to the hospital.

JOHN  
Shaw, you come with me.

SHAW  
No.

John and Fusco are taken by surprise. It's one of the first words she's said to them since being back. These days, Root's the only one who can get her talking.

SHAW (CONT'D)  
I'll go to the hospital. If there's even a chance...

Her jaw clenches. John places a hand on her shoulder.

JOHN  
You're right. Go. Fusco, you're with me.

John and Shaw share a nod. They split off their separate ways.

 

CUT TO:

INT. INTERROGATION ROOM - POLICE STATION - NYC - NIGHT

Finch is still waiting alone. His eyes are shut tightly. He's trying to get control of himself.

The door opens and closes.

A FEDERAL AGENT sits across the table from him.

FEDERAL AGENT  
Harold. That's as far as we've gotten. Harold. That and a file number. Quite a few file numbers, in fact. We've got records of records of you going back nearly forty years. But no actual records. Isn't that funny?

Harold stares back silently.

FEDERAL AGENT (CONT'D)  
We digitized them all ten years back. Brass said all the files were taking up too much room. Me? I thought it was a bad idea. I mean, pieces of paper going missing every once in awhile? For the most part, they turned up. But now? Little bits in a hard drive? Who's to say when they disappear? They're just gone.  
(beat)  
Now all of yours just...went up in smoke. Poof. And all I've got is a cover page to a file. An interview with an unnamed man in a retirement home talking about his son. Harold.

Finally, this evokes a response from Finch. His eyes widen. Just when he thought he had no vulnerabilities left...

INT. HOSPITAL - TRAUMA WARD - NIGHT

A NURSE clad in scrubs and a face mask makes her way down the hall. She walks with purpose until she reaches ROOM 209. Two GUARDS sit outside the door. She flashes her hospital ID and they nod, letting her pass.

She enters and shuts the door behind her, immediately pulling the mask off her face. It's Shaw.

Root lies in the hospital bed, unconscious. She's hooked up to a series of MONITORS and an IV DRIP. She looks so small in the shapeless hospital gown.

Shaw carefully sits on the edge of the bed. There's a smear of blood on Root's cheek. Shaw wipes it away with her thumb. Root stirs, ever so slightly, leaning into the touch.

SHAW  
Root. Root, hey. Wake up.

After a few shakes, Root slowly stirs. She blinks hard as the light and fatigue hit her. She slowly turns her head to see Shaw sitting beside her.

ROOT  
Hey, cutie. Miss me?

SHAW  
We need to get you outta here.

THE MACHINE - POV  
(A box reading CONTACTING ASSET appears onscreen.)

Root looks around, apparently taking note of her surroundings for the first time. She glances down at the gown she's wearing.

ROOT  
Uh oh.

SHAW  
Yeah, uh oh. I need you to focus, okay? Stay with me.

She snaps her fingers in front of Root's face a few times to hold her attention.

SHAW (CONT'D)  
You with me?

ROOT  
Absolutely.

CUT TO:

The guards outside the room rush in abruptly as:

SHAW (AS NURSE)  
Help! Somebody, I need help!

As soon as they clear the threshold Shaw catches them upside the heads with the IV RACK. They're down for the count. She pulls them further into the room. To one of them, she attaches Root's monitors. To the other, her IV.

SHAW  
(to Root)  
Should buy us some time before they realize you're gone. Ready for a little ride?

Root is plopped in a wheelchair in a corner of the room. She nods.

ROOT  
(groggily)  
Sounds fun.

Shaw wheels Root out of the room and down the opposite end of the hall. She hasn't thought this far ahead. They reach a set of double doors at the end of the hall, and Shaw tries the handle. It's locked. There's a PASSCODE.

She tries to swipe her ID. Access denied.

SHAW  
Great.

She looks around for an alternate route. They can't stay here much longer without drawing attention.

Just then, the door opens from the other side. Shaw looks into the face of DR. MADELEINE ENRIGHT. We haven't seen her since John and Finch saved her wife's life several years ago.

MADELEINE  
Sameen?

Shaw is alarmed. Madeleine ushers her through the doors.

MADELEINE  
I got a call. We have a mutual friend: Harold? He asked me to help you.

SHAW  
(skeptical)  
He called you? Just now?

ROOT  
(smiling knowingly)  
No, She did.

Madeleine gestures down the hall. 

MADELEINE  
This way. I can get you as far as the parking garage undetected.

Shaw nods and lets her lead the way.

They're moving down another hallway now. Root's dozing again. Shaw leans down to talk to her, still wheeling her along.

SHAW  
Root? I need you to stay awake.

Root's trying her best, but it's a losing battle. 

SHAW (CONT'D)  
Listen to me. Do you remember--remember when I biked from the city to Jersey to save your ass? Remember that?

ROOT  
Mmhm. Fun night.

SHAW  
Well, the way I see it, you still owe me, okay? And I'm collecting. You don't get to fade on me here. You gotta stay with me.

ROOT  
(weakly)  
Fair's fair. Whatever you say, Sam.

Shaw straightens up again.

SHAW  
(to Madeleine)  
What's our best way outta here?

MADELEINE  
You can take my car--

SHAW  
They'll trace it back to you. We need another option. Ambulance?

MADELEINE  
There's paperwork there. It would have to be approved, and I'm not qualified--

ROOT  
She says it's taken care of.

MADELEINE  
(looking to Shaw)  
She?

SHAW  
Long story.

MADELEINE  
The ambulance should be stocked with supplies, but with the MTs...I'm sorry, if I'd had time to prepare--hang on.

She stops abruptly, steps into a SUPPLY CLOSET, and emerges seconds later with a DUFFEL BAG.

MADELEINE(CONT'D.)  
In case you have the opportunity to, uh, borrow some things. During your trip.

Shaw nods and tosses it onto Root's lap. They keep moving.

 

CUT TO:

They're in an elevator.

MADELEINE  
Do you have someone who can look after her?

SHAW  
Yeah. Got a lot of experience patching people up.

MADELEINE  
(nods)  
If you need me, for anything, Harold has my number. 

SHAW  
(quietly, staring straight ahead)  
I won't lose her, understand?

MADELEINE  
Actually, I do. Harold and I met under not dissimilar circumstances.

They share a look of understanding. The elevator doors open. Shaw wheels Root out into:

INT. HOSPITAL - PARKING GARAGE - NYC - NIGHT

There's an ambulance and two MTs waiting for them. 

MADELEINE  
(from the elevator)  
Good luck, both of you.

SHAW  
Thanks.

The doors close and Madeleine's gone. 

MT 1  
(glancing at his clipboard)  
Jane Doe?

SHAW  
That's the one.

The MTs help hoist Root into the ambulance. Shaw climbs in, promptly punches them out, and pushes the unconscious bodies out of the ambulance.

SHAW (CONT'D)  
Sorry, boys. This one's invite-only.

ROOT  
I've missed this.

SHAW  
God forbid anything should ever be easy with you, huh?

Root grins.

INT. INTERROGATION ROOM - POLICE STATION - NYC - NIGHT  
Finch is still seated across the table from the federal agent.

FEDERAL AGENT  
Lucky for me, in treason cases, they keep the files. I've got an agent headed to Washington with a flashlight. It'll probably take him a couple of hours to dig yours up. Unless you want to save him the time.

FINCH  
My friend. What happened to her?

FEDERAL AGENT  
Well...if you talk to me, I'll tell you about your friend.

FINCH  
I would like my phone call.

FEDERAL AGENT  
Phone call? No, it doesn't work like that. You give us the name of an attorney, and we will contact them on your behalf. In the meantime, you and I just wait. Unless you have something to say to me.

FINCH  
I have played by the rules for so long.

FEDERAL AGENT  
Not from where I'm sitting.

FINCH  
No. Not your rules. You work at the behest of a system so broken that you didn't even notice when it became corrupted at its core. When I first broke your rules, a sitting president had authorized assassination squads in Laos, and the head of the FBI had ordered his men--you--to conduct illegal surveillance on his political rivals. Your rules have changed every time it was convenient for you.  
(beat)  
I was talking about my rules. I have lived by those rules for so long. Believed in them for so long. Believed that if you played by the right rules, eventually you would win.

CUT TO:

INT. HOSPITAL - PARKING GARAGE - NYC - NIGHT

Shaw is in the driver's seat of the ambulance. A dozen Samaritan agents surround the vehicle, weapons trained on her. She slowly closes her eyes and raises her hands in surrender.

FINCH (V.O.)  
But I was wrong, wasn't I? Now all the people I cared about are dead. Or will be dead soon enough. And we will be gone without a trace.  
INT. INTERROGATION ROOM - POLICE STATION - NYC - NIGHT

FINCH (CONT'D)  
So now I have to decide. Decide whether to let my friends die, to let hope die, to let the world be ground under your heel all because I played by my rules.  
(beat)  
I'm trying to decide.  
(beat)  
I'm going to kill you. But I need to decide how far I'm willing to go. How many of my own rules I'm willing to break to get it done.

FEDERAL AGENT  
Look, you wanna add threatening the life of a federal agent to your file, I will draw up those charges right now. No waiting is required.

FINCH  
I wasn't talking to you.

Finch looks to the security camera mounted in the corner of the room. The agent follows his gaze.

The door opens again, and a second agent, DENNIS, enters to whisper something in the Federal Agent's ear.

FEDERAL AGENT  
No, no. No damn chance of that. No, this guy is ours. I don't care who the hell those suits think they are. Get him back in holding.

The Federal Agent stands, exits.

 

CUT TO:

INT. HOSPITAL - PARKING GARAGE - NYC - NIGHT

The Samaritan agents are closing in around the ambulance. They're in point blank range now. Shaw opens her eyes suddenly, SLAMS ON THE GAS, and the ambulance BARRELS FORWARD. The agents directly in front try to jump out of the way, but there isn't enough time.

The ambulance rolls right over them, making for a bumpy ride. The other agents fire at the ambulance to no avail. Shaw has the ambulance out of the garage seconds later.

SHAW  
Okay, that was kinda fun.  
(over her shoulder)  
Root, you good?

ROOT  
(sleepily)  
Just peachy.  
INT. PRECINCT - HALLWAY - NYC - NIGHT

The Federal Agent is in heated discussion with two other SUITS.

FEDERAL AGENT  
This case is way out of your jurisdiction. There's no way we're gonna give up this prisoner. This is a very high-value prisoner, and he's ours.

Dennis leads Finch down the hall. He unlocks the gate leading to the holding wing, the buzzer sounds, and they wait.

FEDERAL AGENT  
Hey, Dennis. 

He waves him over a few yards away, leaving Finch temporarily unattended.

FEDERAL AGENT  
They said they're calling Washington. Meanwhile, anyone remands this guy to anyone...

The chatter fades away as the PAYPHONE beside Finch rings. He stares at it, then over at the agents, who are still preoccupied, and slowly answers it.

THE MACHINE (AS ROOT)  
Can you hear me?

FINCH  
Root?

THE MACHINE (AS ROOT)  
No, Harold. I chose a voice.

His worst fears are confirmed. Root must be dead.

FINCH  
This place...can you get me out of it?

THE MACHINE (AS ROOT)  
You created me. I can do anything you want me to.

The lights flicker once, twice, then go out entirely. An ALARM sounds.

 

CUT TO:

EXT. POLICE STATION - NYC - NIGHT

John and Fusco jog up outside the precinct. LIGHTS are flashing, ALARMS blaring. ARMED GUARDS run around frantically. The detectives approach one. John flashes his BADGE .

JOHN  
NYPD homicide. What happened here?

GUARD  
Someone cut the power, opened all the cell doors. At last count, six hundred prisoners escaped out the back door. National Guard being called up.  
(nodding to their car)  
You got any weapons in that thing, we're gonna need you.

The guard moves away.

FUSCO  
(to John)  
We need to get to Finch.

JOHN  
I got a feeling Finch isn't here anymore. Samaritan didn't want him dead, at least not if they could capture him.

FUSCO  
So why'd his number come up?

JOHN  
I think it was warning us about what he might do to them.  
INT. SUBWAY STATION - NYC - NIGHT

The gang straggles back into the subway. Shaw pushing a sleeping Root in the wheelchair, John and Fusco alongside them. They're all exhausted. It's been a long day.

They hear VOICES coming from around the corner, and immediately draw their weapons. John looks to Fusco, signals toward the sound, and the two detectives take the lead.

As they get closer, the voices become more audible.

HARPER  
Please, this is hardly my first felony.

DANI  
That's not helping your case.

HARPER  
They'll be back any minute now. Trust me.

DANI  
Trust you? Why the hell would I trust--

The gang comes around the corner to see HARPER ROSE leaning against Finch's desk, arms folded. DANI SILVA is seated in a chair next to her, handcuffed to the table. She's pissed.

John, Shaw, and Fusco stare in surprise. Dani's eyes widen as recognition sweeps over her. Harper smiles smugly.

HARPER  
Heard you could use a hand.

END OF EPISODE.


End file.
